Explore Fabrice.Dozias' 1190 photos on Flickr!
If you want your students to take their character development to the next level, introduce them to Laban Movement. Laban Movement will provide them...
(Please note: although these pictures are not from my classes, they very well could be. The practice plays out so similarly!) I recently taught a workshop on Dramatic Improvisation for a Comedy Festival focused on Improvisation and Stand-Up comedy for adults. Mine was the first workshop of the day (a Saturday), and I had anticipated […]
Watching the CDK Company dancers move to 'Somebody That I Used To Know' feels like magic. Their movements blend with the music in a way that pulls you in from the very first beat. This group isn't just about dance. They mix styles, telling stories with their bodies in ways that surprise and delight. It's
Explore Padmevader's 1945 photos on Flickr!
I was surprised when she ran her hands down my abs, almost to the waist band of my pants. "Mila," I warned, watching her bite back a smile. There was unmistakable tension around us and I had no idea where it came from. Maybe it was the alcohol. I stared down at her, watching the sultry look on her face. "What are you doing to me," I muttered, resting my forehead against hers. I barely had a chance to blink before her lips were pressed against mine. My hands found their way to her hips, gripping them tightly as she tugged at my hair. Spinning her around, I pinned her against the wall. It felt like my lungs were going to burst as I pulled away, breathing hard. Mila gazed up at me, her eyes glazed over and cheeks pink. She reached up, wiping what I'm assuming was her lipstick from my lips. I couldn't help but lean down and press my lips against hers again. It was almost as if I was addicted to the way she fit against my body. "Ajax, we're both drunk," she gasped as I bit down on her ear gently. We could deal with the consequences later. ------------------------------------------------------------------------- TW: Mentions of Anxiety, Depression, and some suicidal thoughts Some Mature content - I'll put a warning before ;) Highest ranking in Romance - #8 12/20 Highest ranking in Dance - #1 12/22
SANKAI JUKU - japanese butoh company With "Butoh" dancing, there is no set style, and it may be purely conceptual with no movement at all. Its origins have been attributed to Japanese dance...
They put on a beautifully mesmerizing performance that left the whole audience in awe.
What began as an all-male dance company has become a radical campaign that explores the boundaries of blackness and masculinity.
They put on a beautifully mesmerizing performance that left the whole audience in awe.
Are you even a dancer if you don't own 8,4736,347 bobby pins?
For his project titled Motion, Brooklyn, New York-based photographer Bill Wadman shot portraits of dancers with a slow shutter speed in order to capture
Not into Zumba? Soul Cycle? Fitness Boot Camp? If competitive hard-core fitness classes turn you off, then Nia, a quirky, gentle mind-body movement dance
by acidcow.com
I wish my face looked that serene when I was doing grand jetes!
Dance is movement that is physical, cultural, social and psychological. It has always been an essential part of human life that is used to express meaning or to communicate a message. It is a part of celebrations and ceremonies and is a non-verbal expression that communicates with people. Dance as a discipline shares similar creative aspects with architecture. They both use and define space. Dance is movement of the human body through space over time and architectural spatial qualities are experienced by the human body through movement over time (Huang, 1991). “Time in dance establishes rhythm. Time in dance gives order to motion. Dance may be perceived as ephemeral at its time of performance, but it is through its making, conceptualization, process, medium, and product that it becomes temporal. Dance transcends time through experience and memory.” (Huang, 1991) “Time in architecture reveals spatial qualities. Time in architecture allows for generosity and growth. Architecture transcends time through the collection of memories that deposits itself in archetypal spaces.” (Huang, 1991) Although similar, dance and architecture seem to be in contrast with each other. Dance is about movement while architecture is more about being static. Dance has qualities of rhythm, dynamism, liveliness and can appeal to the emotional side of the observer. Both architecture and dance require movement, time and space (Huang, 1991). Both these disciplines have evolved over time and moved away from old concepts of space and form. Architecture now embraces dynamism and rhythm, while dance embraces the chaotic and the random (Christov-Bakargiev, 2013). By exploring how people move through the site over time and linking each space to the qualities associated with dance and also providing opportunities for different kinds of experiences will give a link between the two disciplines. Observing the creation of dance, and importing choreography into architecture allows for the creation of programme that, like dance, uses chance and unpredictability (Huang, 1991). This will allow the architecture to in-cooperate energy, intent, suspense and direction. ‘Architecture designed via space frees the building of formal considerations; it is through the negative element, the space, that the architectonic form becomes meaningful and defined (Chang, 1981). Dance can be private for the individual or can be done for an audience. Playing on the issues of transparency immerses the observer in the art of performance and these will be tested in the performing arts theatre and school. The project will explore informal performance spaces for the public. The performing arts theatre and school will provide an opportunity to employ spatial concepts used in dance to develop and design the architectural space. Through doing this, this can open a new dimension in architecture. This will in turn allow the performances to define the space. Elements of dance Rudolf von Laban was a very influential dance instructor and theorist of the twentieth century who believed that dance was not subordinate to music. He identified the principles inherent in movement which led to the development of a system known as the Laban Movement Analysis. He classified the characteristics of choreography into elements that can lend themselves to the process of designing buildings within their context. Elements such as shape, space, timing and dynamics can be played upon to open up the dialogue and breaking through traditional design process to provide richer experiences that enhance the performance. Shape is connected with how the body is flexible and responsive. It can be about straight, curved, jagged or angular lines. Levels, symmetry, asymmetry and scale are key concepts that will be incorporated in the design of the theatre and school. Space deals with the geometric forms of the body and these include horizontal and vertical patterns. Timing will be used to determine the rate at which people move through the site and the key experiences they will go through. Dynamics in dance is the quality of movement, uniqueness, richness and power. It brings together all the elements such as weight, time, space and flow to achieve it. The quality of the spaces in the theatre will play an important role and the transition between these spaces creating a unique experience in each space. Capturing views of the site and aspects of the performance from official productions to private rehearsal. References Chang, A., 1981. The tao of architecture. 1 ed. New Jersey : Princeton . Christov-Bakargiev, C., 2013. Dance and Architecture. [Accessed 29 September 2013] Available at: http://thinking-in-practice.com/dance-and-architecture [Accessed 12 September 2013]. Hanna, J., 1987. To dance is human. 2 ed. Austin : University of Texas press . Huang, E., 1991. Body in space: The sensual experience of architecture and dance, Melbourne: Massachusetts Institute of technology. Moeller, M., 2006-7. National building museum, the stories of architecture, engineering and design. [Accessed 2 October 2013] Available at: http://www.nbm.org/about-us/publications/blueprints/architecture-dance.html [Accessed 2 october 2013]. Morell-Perea, D., 2006. Architizer. [Accessed 2 October 2013] Available at: http://stat2.architizer.com/en_us/projects/view/uiuc-graduate-dance-laboratory-i/24017/#.UlJLXYanofg [Accessed 6 October 2013]. Springer, 2010. Architecture linked. [Accessed 2 October 2013] Available at: http://architecturelinked.com/profiles/blogs/calatrava-and-the-nyc-ballet [Accessed 6 October 2013]. Image References 01_ Image from http://apkconcepts.wordpress.com/category/architecture/ , accessed 01.10.2013 02_ Image from http://c-monster.net/2011/06/10/roof-piece//, accessed 01.10.2013 03_ Image from http://www.theguardian.com/stage/2012/jun/24/shobana-jeyasingh-toomortal-architecture-dance/, accessed 01.10.2013
SPRAGGETT ON CHESSI have decided that I am going to learn the ‘watusi’. Looks like fun–and makes people do funny things with their body…Wiki has this to say: ”The Wat…
Isadora je sanjala o plesu, ki se razlikuje od uveljavljenih vzorcev. Revolucionarno jedro njenih idej je bilo v viziji plesa prihodnosti, osvobojenega spon klasične tehnike in drugih sistemov gibanja. Sprva je videla vzor svobodnega giba v plesu antične Grčije, ujetega v skulpture, reliefe in podobe na vazah. Statične podobe je samosvoje prevajala v živ gib in jih inventivno nadgrajevala. V grškem slikarstvu, kiparstvu in tanagrskih figurinah je, kot navaja v svojih besedilih, odkrila “popolno zavedanje naravnih telesnih zmožnosti, zlasti o kontinuiteti gibanja v vselej se spreminjajočih naravnih, nepretrganih sosledjih“. Obračala se je tudi k naravi, v kateri je našla "najčudovitejše oblike in gibanje, ki izraža dušo teh oblik - prav to pa je plesalčeva umetnost ... "Navdih črpam iz dreves, valov, oblakov, iz skladja, ki se tke med strastjo in viharjem”. V otroštvu je imela nekaj malega izkušenj s klasičnim baletom in Delsartovim sistemom gibanja. François Delsarte, francoski učitelj (1911–1871), ki je bil tedaj v Ameriki dokaj znan, je poučevanje plesa gradil na devetih zakonih o izraznosti gest, povezani s človekovimi čustvenimi, fizičnimi ter intelektualnimi vidiki. Poudarjal je, da je vse, kar je naravno, tudi lepo, in da je naravno gibanje tisto, ki je v sozvočju s telesom ter s težnostjo. Isadora je menila, da je tehnika klasičnega baleta zastarela in v nasprotju z naravnim človekovim gibanjem. Sprva je plesala v lahkih sandalih, kmalu pa le še bosa, odeta v preprosto tuniko. Bosa stopala in njena "mala bela tunika" s poznejšimi barvnimi različicami ter drapiranimi haljami so postali prava senzacija in njen zaščitni znak.
That doesn’t sound perfect to me.
The kinetographic charms of Rudolf von Laban
Sydney Long is the best-known proponent of Symbolist-inspired painting in Australia. Symbolism was an influential late 19th-century movement characterised by works expressing ideas, mood and dream states over material realities, and its artists often employed Art Nouveau’s sensuous arabesque forms ...
Emilee Strong. Photograph :Chris Clark To celebrate the Ballet News facebook page reaching 50,000 readers this week, I wanted to share with non-facebook users some of the most popular photographs. Most of them have received over 1000 'likes' on facebook , with the most popular reaching thousands.
